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Creating place : North Carolina's artworks for state buildings.

Creating place : North Carolina's artworks for state buildings. - Page 32

32
Jim Galucci,
Vale, 1979
Program administrators have approached each conservation situation with an
adherence to professional standards. Carefully kept records documenting all
materials and techniques used in the creation of the works aid conservation
decisions. When a problem is identified, qualified conservators and the artists are
consulted and recommendations for treatment are made. Any treatment is well
documented. A collection management handbook produced in 2000 provides
written guidelines for assessing the artworks’ condition, cleaning and general
maintenance, as well as contracting with conservation professionals when
treatment is warranted. Artworks are examined every three years, or more often
if problems are noted. Forms indicating any damage or changes in the environ-ment
are completed and become the basis for further professional examination.
A committee of North Carolina Arts Council board members and outside art
and conservation experts review conservation needs and set priorities as
money allows.
Maintenance and conservation of artworks is complex, labor intensive, and
requires a thorough knowledge of the chemical properties of the artwork’s
materials. A trained professional must undertake such treatment. On- going care
and maintenance of the collection requires an investment of financial resources.
The collection is fairly young and thus far the art has required only minor
maintenance. In recent years, conservation funds have been allocated to sand,
repaint and seal the beautiful steel gates at the N. C. Arboretum in Asheville;
repair a damaged concrete bench at the Piedmont Triad Farmers Market in
Colfax, and repaint faded sections of the Education Wall and the surrounding
benches at the Department of Public Instruction Building in Raleigh. A conser-vator
professionally cleaned and sealed cracks in the large concrete Gnomon on
the campus of the N. C. School of Science and Mathematics in Durham, and a
challenging conservation of an important painting by George Bireline that had
been marred when someone scratched initials into its surface was completed. In
addition, several other Program artworks have undergone general cleaning.
The art produced through the Artwork for State Buildings Program is a part of
North Carolina’s cultural heritage. As the collection ages, maintenance and
conservation will take on greater significance in order to preserve the perma-nence
and viability of these public artworks and valuable cultural assets for
future generations.

32
Jim Galucci,
Vale, 1979
Program administrators have approached each conservation situation with an
adherence to professional standards. Carefully kept records documenting all
materials and techniques used in the creation of the works aid conservation
decisions. When a problem is identified, qualified conservators and the artists are
consulted and recommendations for treatment are made. Any treatment is well
documented. A collection management handbook produced in 2000 provides
written guidelines for assessing the artworks’ condition, cleaning and general
maintenance, as well as contracting with conservation professionals when
treatment is warranted. Artworks are examined every three years, or more often
if problems are noted. Forms indicating any damage or changes in the environ-ment
are completed and become the basis for further professional examination.
A committee of North Carolina Arts Council board members and outside art
and conservation experts review conservation needs and set priorities as
money allows.
Maintenance and conservation of artworks is complex, labor intensive, and
requires a thorough knowledge of the chemical properties of the artwork’s
materials. A trained professional must undertake such treatment. On- going care
and maintenance of the collection requires an investment of financial resources.
The collection is fairly young and thus far the art has required only minor
maintenance. In recent years, conservation funds have been allocated to sand,
repaint and seal the beautiful steel gates at the N. C. Arboretum in Asheville;
repair a damaged concrete bench at the Piedmont Triad Farmers Market in
Colfax, and repaint faded sections of the Education Wall and the surrounding
benches at the Department of Public Instruction Building in Raleigh. A conser-vator
professionally cleaned and sealed cracks in the large concrete Gnomon on
the campus of the N. C. School of Science and Mathematics in Durham, and a
challenging conservation of an important painting by George Bireline that had
been marred when someone scratched initials into its surface was completed. In
addition, several other Program artworks have undergone general cleaning.
The art produced through the Artwork for State Buildings Program is a part of
North Carolina’s cultural heritage. As the collection ages, maintenance and
conservation will take on greater significance in order to preserve the perma-nence
and viability of these public artworks and valuable cultural assets for
future generations.